Music

28 Nov 2023

Warren Zeiders Hits No. 1 on Emerging Artists Chart, Thanks to ‘Pretty Little Poison’

Warren Zeiders rises to No. 1 on Billboard’s Emerging Artists chart (dated Dec. 2), becoming the top up-and-coming act in the United States for the first time, thanks to his single “Pretty Little Poison,” and his debut full-length of the same name.

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The single – Zeiders’ first Billboard Hot 100 hit – ranks at No. 53 on the chart, with 13.1 million radio airplay audience impressions (up 13%), 8.6 million official streams (up 7%) and 1,000 downloads sold (up 35%) in the U.S. Nov. 17-23, according to Luminate. It also climbs 10-8 for a new high on the Hot Country Songs chart.

Further boosting Zeiders’ Emerging Artists coronation is his new song “Sin So Sweet.” The track, released Nov. 17, debuts at No. 39 on Hot Country Songs with 3.3 million streams and 4,000 sold earned in its opening week.

Plus, Zeiders’ debut LP Pretty Little Poison ranks at No. 35 on the Top Country Albums chart, after reaching No. 12 in September, with 8,000 equivalent album units.

Zeiders is the sixth country act to top Emerging Artists in 2023, following Jelly Roll, Nate Smith, Megan Moroney, Colter Wall and Cooper Alan.

Rounding out the top five of the latest Emerging Artists chart, Teddy Swims drops to No. 2, Nate Smith descends 2-3, Victoria Monet dips 3-4 and Kenya Grace holds at No. 5.

Among other Emerging Artists moves, Austin Williams debuts at No. 10 thanks to his song “90s Rap Mashup.” The track, released Nov. 17 on Truth or Dare Records, starts at No. 1 on Country Digital Song Sales and No. 9 on the all-genre Digital Song Sales chart with 4,000 sold. It interpolates classic hip-hop hits, including DMX’s “Ruff Ryders’ Anthem,” Nelly’s “(Hot S**t) Country Grammar,” Afroman’s “Crazy Rap” and Bone Thugs-N-Harmony’s “1st of tha Month.” Williams scored his first chart entry in September, with “Wanna Be Saved.”

The Emerging Artists chart ranks the most popular developing artists of the week, using the same formula as the all-encompassing Billboard Artist 100, which measures artist activity across multiple Billboard charts, including the Hot 100 and Billboard 200. (The Artist 100 lists the most popular acts, overall, each week.) However, the Emerging Artists chart excludes acts that have notched a top 25 entry on either the Hot 100 or Billboard 200, as well as artists that have achieved two or more top 10s on Billboard’s “Hot” song genre charts and/or consumption-based “Top” album genre rankings.

28 Nov 2023

Ariana Grande Celebrates 9 Years of ‘Santa Tell Me’ With Adorable Throwback Video

Santa tell me, has it really been nine years? Ariana Grande is celebrating the anniversary of her nearly decade-old Christmas single “Santa Tell Me” by sharing a sweet throwback video featuring clips from the song’s festive video shoot in 2014.

In the digital time capsule, Grande models a Christmas sweater, reindeer ears and her signature half-up ponytail, knee high boots combo as she dances along to her peppy evergreen hit. In other clips, she giggles with backup dancers on set, hiding her face under the covers of a cozy bed while sporting a truly of-its-time cheetah-print fur hat.

“tis the season!” she captioned the video. “♡ Santa Tell Me ♡ almost ten years ago ??”

Originally released exclusively for iTunes download, “Santa Tell Me” seems to climb new heights with each passing holiday season. Just last year, it reached a new peak of No. 12 on the Billboard Hot 100 eight years after it first dropped.

The song is far from Grande’s only contribution to the Christmas song canon. Not only does she have two holiday EPs under her belt — 2013’s Christmas Kiss and 2015’s Christmas & Chill — but the 30-year-old vocalist has also teamed up with other stars for a number of wintertime collaborations, including “Santa Baby” with Victorious costar Liz Gillies, 2020’s  “Oh Santa!” with Mariah Carey and Jennifer Hudson and 2022’s “Santa Can’t You Hear Me” with Kelly Clarkson.

See Ari’s festive blast from the past below:

28 Nov 2023

Jason & Travis Kelce Earn First Billboard No. 1 With ‘Fairytale of Philadelphia’

A week after making their first appearances on Billboard charts, Jason Kelce and Travis Kelce are No. 1 for the first time.

The brothers’ “Fairytale of Philadelphia” rises from No. 2, where it debuted, to No. 1 on the Rock Digital Song Sales tally dated Dec. 2.

It also lands at No. 1 on the first Holiday Digital Song Sales chart of the 2023 holiday season.

In the Nov. 17-23 tracking week (after it was released Nov. 15), “Fairytale of Philadelphia” sold 5,000 downloads, according to Luminate. It sold 6,000 Nov. 15-16.

The single also bows at No. 43 on the multi-metric Hot Rock & Alternative Songs chart. In addition to its sales, the song racked up 1.1 million official U.S. streams Nov. 17-23.

“Fairytale of Philadelphia” is a rendition of The Pogues’ “Fairytale of New York” from 1987, with altered lyrics to reference Philadelphia rather than New York. Jason Kelce is the starting center for the Philadelphia Eagles of the NFL.

Travis Kelce, meanwhile, is a tight end for the Kansas City Chiefs – and has made headlines in recent months for reportedly dating Taylor Swift.

“Fairytale of Philadelphia” will be part of A Philly Special Christmas Special, an album by The Philly Specials featuring multiple members of the Eagles, as well as Philadelphia native and R&B icon Patti LaBelle. Due Dec. 1, it’s the follow-up to 2022’s A Philly Special Christmas, which hit No. 26 on the Top Holiday Albums chart last holiday season.

The new set sports 10 covers of holiday hits, including Mariah Carey’s “All I Want for Christmas Is You,” Vince Guaraldi Trio’s “Christmas Time Is Here” and Donny Hathaway’s “This Christmas.” It also includes one original track by Jason Kelce, “Santa’s Night.” Proceeds from the vinyl sales of the album will benefit Children’s Crisis Treatment Center’s Toy Drive and Children’s Hospital of Philadelphia’s Snowflake Station.

28 Nov 2023

Taylor Swift Holds at No. 1 on Artist 100, Dolly Parton & ENHYPEN Reach Top 10

Taylor Swift spends a record-extending 87th week at No. 1 on the Billboard Artist 100 chart (dated Dec. 2), thanks to the continued success of her latest re-recorded LP, 1989 (Taylor’s Version), as well as nine additional albums on the Billboard 200 and six songs on the Billboard Hot 100.

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1989 (Taylor’s Version) logged its first two weeks at No. 1 on the Billboard 200 and ranks at No. 2 in its fourth week on the list with 137,000 equivalent album units earned Nov. 17-23, according to Luminate. It debuted with 1.653 million equivalent album units – the largest one-week total since the debut of Adele’s 25 (3.482 million; Nov. 15, 2015).

Here’s a recap of Swift’s current Billboard 200-charting albums:

No. 2, 1989 (Taylor’s Version)
No. 6, Midnights
No. 8, Lover
No. 9, Folklore
No. 17, Speak Now (Taylor’s Version)
No. 23, Red (Taylor’s Version)
No. 27, reputation
No. 31, Evermore
No. 40, Fearless (Taylor’s Version)
No. 59, 1989

This is the fifth week that Swift has charted four albums in the top 10 of the Billboard 200 simultaneously, after she did so on the charts dated July 22 and 29 and Aug. 19 and 26. Only two other acts have each charted at least four albums in the top 10 simultaneously: Herb Albert, who landed four on April 2, 1966, and Prince, who charted five on May 14, 2016, after his death that April.

On the Hot 100, Swift charts six songs, led by “Cruel Summer” at No. 2, following four weeks on top. Next up, all from 1989 (Taylor’s Version): “Is It Over Now? (Taylor’s Version) [From the Vault]” (No. 9, after spending one week at No. 1); “Now That We Don’t Talk (Taylor’s Version) [From the Vault]” (No. 56); “Slut! (Taylor’s Version) [From the Vault]” (No. 76); “Say Don’t Go (Taylor’s Version) [From the Vault]” (No. 81); and “Style (Taylor’s Version)” (No. 91).

Dolly Parton re-enters the Artist 100 at No. 3, a new high, thanks to the opening week of her album Rockstar. The set debuts at No. 3 on the Billboard 200 – a new personal best for Parton – and No. 1 on both the Top Country Albums and Top Rock & Alternative Albums charts with 128,000 units.

ENHYPEN returns to the Artist 100 at No. 5, powered by the group’s new set Orange Blood. The album arrives at No. 4 on the Billboard 200 with 90,000 units, becoming the act’s third top 10.

The Artist 100 measures artist activity across key metrics of music consumption, blending album and track sales, radio airplay and streaming to provide a weekly multi-dimensional ranking of artist popularity.

28 Nov 2023

Lady London Talks New Project ‘S.O.U.L.’ & Her Confidence as an MC: ‘I Come in With the Intent to Kill’

As New York continues to stockpile its homegrown female talents, one budding star emerges as an early leader in the pack: Lady London, whose scintillating wordplay and lioness command of the mic are catching the eyes and ears of the Tri-State area. 

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Whether she’s flipping a Slick Rick classic for her breakout record “Lisa’s Story” or devouring Jay-Z classics for recreational purposes, London’s lyrical sword is proving to be sharper than most. On her debut Def Jam project, the Zodiac-themed S.O.U.L., she spars with Dreezy on the hypnotic “Yea Yea” while cutting her losses on the R&B-leaning “Way Too Much,” featuring Tink. London’s versatility and ability to skate on popular samples make S.O.U.L. a smooth ride. 

“I always wanna keep [hold of] the listener,” says London. “I feel once you open up, if your first two lines ain’t strong enough, they just gonna scroll past. I know I do. If I’m listening to somebody and the first three lines ain’t it, I’m like, ‘Oh, God.’ I spend the most time on my first three lines. If you ever see me in the studio, I be like, ‘How am I gonna start this?’”

Billboard chats with Lady London about her days as a Howard University student, signing to Def Jam, her love for horoscopes and more. 

How did going to an HBCU shape your career and change your trajectory?

I think Howard [University] made me the woman that I am. I would say so much. I learned how to not feel guilty about speaking up or taking issue with anything in life — especially the conditions of Black people, outward expression and whatever way that feels natural to you. It painted a picture for me and invoked my storytelling capabilities in music. I credit Howard with a lot of my successes. 

You graduated with a double major and your masters degree. How did you navigate that decision making a full-time jump into rap knowing you already accrued so much success outside of it?

It just seemed like such a long-term game where I was trying to get in medicine. I was in orthopedic surgery, so by the time I finished my masters, I had four years of medical school left. That’s a three-year residence plus a one-year fellowship. And that’s not even a guarantee with $300,000 a year. When I was rapping on some side stuff or whatever, I was getting like money for doing the smallest things.

Of course, it wasn’t necessarily like a money thing the whole time, but looking at it, it was destiny for me. I couldn’t run from what I’m supposed to be doing. I would try to quit rap all the time. I’d wake up like, “I’m not doing this no more. I’m going to school. I got stuff to fall back on.” Then, I’d find myself right back rapping. 

What’s your proudest accomplishment: getting your bachelor’s, getting your master’s or signing to Def Jam?

I was really happy to get my bachelor’s. I was the first in my family to go to college. It was really a big deal. My father didn’t even finish high school. I handed my mom my degree both times when I got my degree. I think that’s why she supports so much — because “you said what you were gonna do.”

On “Sermon on the Mount,” you said: “The only limelight I want is God’s light.” In an industry where there’s so many twists and turns, how is your faith remaining strong?

I don’t want nothing that doesn’t have God’s hand on it. I feel like I not only believe in God but I depend on him. I include him – I don’t think there’s any long rap out I haven’t mentioned something about God. I’m continually guided by faith. Without it, I just don’t think anything will prosper.

Same song you said you touched $100,000 at 25. How did you develop such money-management and savvy at such a young age?

I was taught from pretty young to manage my money. I used to do this thing where I would save 70% of everything I made, and lived off of 30 percent. I was 19 or 20 at least. I knew what I wanted. I used to work bartending jobs and restaurant jobs, where you get paid off of tips, so it was really easy to save cash for me.

I still do it well now. I put it all aside and live off 30 percent, even if it isn’t much. Sometimes, I wouldn’t make much — maybe like $12 for the night — and I’d still put 70 to the side. It’s just a discipline thing. 

I was a fan of “Lisa’s Story.” The storytelling is A1. Growing up a student of hip-hop, what storytelling records resonated with you?

“Mona Lisa,” Slick Rick, was the first one. Slick Rick was an incredible storyteller as a whole. A person who does it so well now is Rick Ross. His imagery almost feels like you were there. He makes me feel luxurious. I feel like I got 100 keys in the trunk and I’m just moving through traffic in a white Chinchilla.

He makes soundtracks to me.

He does. What’s funny he had the song “Santorini Greece” and he painted the picture so well and said he never been there. 

I thought they shot the video there.

They did, but when he wrote the record, he [was] saying he never been there. His sister had been there and told him about the experience, and he was able to make [a record]. That’s why I draw inspiration from my friends and their stories and put it into my records too. I’ve never been heartbroken, but you would never know that. I draw from everybody else’s experiences to paint the picture.

When you collaborate with men, what is that energy like — knowing how you rap?

I like to kill everything, no matter what. I come with the intent to kill.

That’s New York energy.

Period. I do believe in vibing with the person — like being on the same vibration as somebody else. I wouldn’t come in the same way on a J. Cole record the same way I would on a Kodak [Black] record. They’re two different vibes for me. I would come myself.

What’s your favorite bar that you’ve penned this year?

I really enjoyed my BET Hip-Hop cypher.

Are you familiar with Wynne? Her bars are crazy but she said the hardest thing for her to do is to write a hook. Did you experience that at any point?

So bad. Then again, I put myself through artist development for some years. I started in 2018, and everybody’s like, ‘Why you doing a project five years later?’ Because I was not ready back then to be dropping anything like that. I knew I could hear it too. I’m like, ‘I need to learn how to separate,’ because I wanted to bar n—as to death. When I first started, ‘I’m going to rap everyone out.’ Where’s the sonically pleasing stuff? I was trying to find a middle ground for so long.

I felt like I was trying to chase a hit for a period of time. I went from freestyling to not knowing how to songwrite. Now I’m songwriting, but trying to blend in what’s going on and trying to make a hit. Now I’m at a place where I want to do the type of music I want to do. And wherever it lands, it lands.



From a hook standpoint, is there anybody you look to creatively? 

Not necessarily. I like to study old patterns. You know who I think is a great arranger in general? Ma$e. I just think he has this pocket and this cadence about him that’s smooth and swaggy. I don’t know what it is. He’s somebody I draw a lot of inspiration from, as far as my approach to records.

You have a couple of sampled-based songs on the album. You flip Mya’s “Best of Me” for “Do Something” and Chingy’s “One Call Away” for “Kall Me.” Is it challenging to try to tap into those samples and still try to create your own sound?

I think I’ve built my entire career, literally, from taking old-school beats and making them my own. I think I reinvented that so many times. Foxy [Brown’s] one of my favorite artists of all-time and when we flipped “Lisa’s Story” — I’m telling you right now, when people hear “Get Me Home” [the Foxy song “Story” borrows from], I hear a lot of people [rap my opening line], ‘Let me tell you about this guy that I met.’ That’s something that’s just beautiful to me… When you can take something that’s such a classic record, and put your own spin on it so that people don’t relate it back to the classic record, that’s monumental to me.

I think there’s a stigma around people sampling. “It’s oversaturated.” Hip-hop started with sampling. How did we start this entire genre? What do you think DJing comes from? What do you think is on the vinyls? Other people’s records. It’s a lot of critics with no credentials. I think they should open their palette to different things. I think it’s dope to approach the sample different than it was made. I think a lot of people approach it the same, which makes it feel repetitive. I think if you can do it that way, that’s fire. 

Why did you feel it was important to incorporate your love for astrology with your music?

I wouldn’t say I’m necessarily big on it, but I know a conversation-starter when I see it. I was impressed by the fact that it stirs conversation no matter what. You walk in a room, “What’s your sign?” Whether it’s a good or a bad thing, it’s a conversation starter.

I think that’s a big reason why I choose storytelling as a big element of mine. I wanted to shoot [a video for] “Lisa’s Story,” because people gonna be like, “What happened next?” It’s the same thing with this, “What’s she gonna say about this?” Even if you hate the album, I know I got a listen from you, because you gonna figure out what I said about your sign, or somebody you deal with. For me, I wanted to attract the eyes and ears to things. I’m not somebody that believes all publicity is good publicity. But I do think publicity is a starter point. 

Thematically, when you do a concept album, you have to stay faithful to the theme. Were there any hurdles trying to stay true to that?

The biggest hurdles were guaranteeing the features being members of that sign. Jeremih is on the cancer track because he’s a cancer.

If you can pick one word to title this chapter in your life, what word would that be?

I think the word of right now for me is boundaries. I think they’re just so important to set when you elevate. Learning that the door of destiny is a narrow one and not everyone can come with you. Not everything can come with you. If you wanna fly, you gotta rid the s–t that weighs you down. Setting those boundaries is something I had tough doing. I wanted to bring the crew. We gotta all go. When you go up and look around and these aren’t the people I was supposed to win with, you want to throw up about it. And that’s just on the small milestones I’ve accomplished this far. God sometimes be like, ‘You can’t have it with them.’ Setting those boundaries and being intentional with what you about to do next.

28 Nov 2023

ONE N’ ONLY Talk New Single ‘Freaking Happy,’ Tour Spanning Japan & More: Interview

ONE N’ ONLY digitally released a new song called “Freaking Happy” on Nov. 14. This uplifting number about the spirit of heading into the future was featured as the theme song for TV Tokyo’s five-day event from Nov. 15 celebrating the broadcaster’s upcoming 60th anniversary in 2024.

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ONE N’ ONLY celebrated its fifth anniversary this year. In this new interview, members HAYATO, REI, TETTA, NAOYA, EIKU, and KENSHIN chatted with Billboard Japan about their latest release, being tapped to participate in TV Tokyo’s 60th anniversary celebrations, and also share anecdotes from their ongoing tour spanning all 47 prefectures in Japan entitled ONE N’ SWAG ~ Hook Up!!!!!! ~ that kicked off in October.

Your new song “Freaking Happy” is being featured as the theme of TV Tokyo’s 60th anniversary celebrations. Good job!

ALL: Thank you!

It’s a pretty major tie-in project for you. How did you all react when you first heard the news?

HAYATO: We were so psyched! We were told about it when we were together and it took us all by surprise. 

“Freaking Happy” is a really positive and energetic number.

REI: It’s a great song, isn’t it? It has a friendly feel and is upbeat, the kind of tune that’ll lift you up when you hear it in the morning. If you listen to it every day before you go out, I’m sure you’ll feel its effect. [Laughs]

KENSHIN: I really couldn’t believe it when this tie-in came through and was like, “Is this about us?” It didn’t feel real. It was good enough that we were invited to perform on such a major music program, so we’re thrilled that our song was chosen as the theme for the festival. The roster of the music show has been announced and every act is a big name, and since we’ve been asked to perform alongside them, we intend to do so with our heads held high.

NAOYA: It’s a surprise that a song of ours was chosen as the theme for TV Tokyo’s 60th anniversary festival and I’m really grateful. It’d be great if more people get to know us through this tie-in and our SWAG (ONE N’ ONLY fans) grows in numbers. Above all, we’re really grateful to be able to perform on a music program like this, and hope to do a good job so other EBiDAN groups can follow in our footsteps.

HAYATO: It’s a feel-good song and is unabashed about it. I hope it makes people smile when they hear it. I’m sure the event will be a lot of fun too, so it’d be nice if our song becomes a part of people’s good memories.

EIKU: It’s a pretty straightforward track and easy to chime in. A really fun song that’ll bring our SWAG and us together even closer.

KENSHIN: You’re right.

EIKU: It gives me this sense of coming together with those who have supported us and not just amongst ourselves. Not only will it make people feel positive, but it’ll also be a good opportunity for them to get to know what we’re all about.

Such a catchy number is actually pretty rare in the group’s catalog.

TETTA: Right. You know what, though, we haven’t settled on the choreography yet. But when the track played over the speakers during the mic test at our 47-prefecture tour the other day, it was just so cheerful and while I was singing it, I kept thinking how it’d be so much fun if our SWAG were here.

Since the tie-in was a last-minute deal, that must mean your schedule for learning choreography and shooting a music video and whatnot must also be tight.

NAOYA: Yes, the EP was set for release in December, so we’ve been working on the choreography and recording while also doing the 47-prefecture tour. We’ve been spending quality time.

What will the choreography be like?

HAYATO: We want to make the choreography catchy to match the song. We were thinking it’d be nice to have a dance part that everyone can imitate on TikTok. We want to give a performance that will leave an impression even after one viewing.

TETTA: I could come up with (the choreo), you know.

REI: Hey man, don’t bother. [Laughs]

HAYATO: His ideas never fly! [Laughs]

TETTA: I suggest ideas like, “How about moving our hands like so” every once in a while, but they’re never considered. Why?

HAYATO: You’re always a bit too direct. Like if the lyrics say “run,” you’d suggest a running motion, right? You translate stuff too literally.

TETTA: So that’s why! [Laughs]

HAYATO: You can do your own choreo when you go solo someday…

TETTA: Why? [Laughs]

HAYATO: But for this song, I asked a dancer who’s around our age, Rena (Hattori), to handle it. I have a feeling (the dance) will go viral!

It’s a big project. Was it your idea to ask Rena to do it, HAYATO?

HAYATO: Yes. She’s really busy so I was prepared to be turned down, but she kindly agreed to do it and I’m grateful for that. We had an online meeting and…

TETTA: Was she nice? Does she seem strict?

REI: Is that what you’re worried about? [Laughs]

TETTA: I mean, I’ll get in trouble if she’s too strict. [Laughs]

You’re a global star, you have it in you to handle a bit of strictness.

TETTA: Will do my best! [Laughs]

HAYATO: It’s a pretty major collaboration, so if it gets people talking about us, that’d be great. Rena is known for her catchy choreography, so I’m sure we’ll be able to show a good dance performance that’s not too easy and takes advantage of our strengths.

What will the music video be like?

NAOYA: The music video will be directed by Shintaro Sakai, who has produced videos for INI and NiziU. He shoots really lovely visuals using state-of-the-art technology and captures light and the design so beautifully in his works, so I can’t wait to begin shooting.

It looks like you guys are moving up to the next level in terms of the visuals and music and choreography. Since your new song has such a positive vibe, our next question is, who has the most positive outlook these days?

(Everyone besides TETTA looks at him.)

TETTA: What? We’re all positive!

REI: Well, you’re always pretty much the same. But you’re so noisy!

TETTA: That’s because when I’m feeling down or when I’m quiet, I automatically get sleepy.

HAYATO: Just by being quiet?

TETTA: Yeah. I get increasingly drowsy. So I have to keep myself hyped up!

KENSHIN: Is that positive? [Laughs]

NAOYA: It’s certainly energetic. [Laughs]

HAYATO: I appreciate that he’s always cheerful, in good times and bad.

EIKU: Whenever it sounds like something is going on, it’s usually TETTA messing around. [Laughs]

REI: It’s fun to watch when it’s amusing, but it depends on the situation. Sometimes he can’t read the room, you know what I mean?

TETTA: I read rooms just fine!

I guess it’s good for an energetic group to sing a positive number because it’ll amp up the energy.

HAYATO: You’re really good at putting things back on track.

Thank you. [Laughs] You’re currently in the midst of your domestic tour spanning all 47 prefectures. How’s it going so far?

TETTA: We’ve only done four shows, but it’s been a lot of fun. In the more rural areas, we’ve been performing in small “live houses” (night clubs) and the like. I’m always conscious of the cameras in large venues, but in smaller ones, I can look each person in the eye and sing. Of course I try to remember to do so in large places, but it’s a lot of fun performing while seeing how everyone’s doing. Also, the acoustics are different at each venue and so are our respective positions, so I feel like I’ve learned a lot about how to deal with such things.

EIKU: Most of all, it really reminds me of when we first started out. We used to perform in small venues when we first made our debut, so things like checking the lighting and doing our own makeup feel really familiar. I’ve been remembering stuff from our early days while performing. Also, the vibe in each venue is completely different.

KENSHIN: It really is different, isn’t it? That’s why I thought it was very meaningful to tour all 47 prefectures. We’ve toured Tokyo, Nagoya, Osaka, and other major cities before, but there were SWAG we couldn’t meet because it was hard to go. Now we can really visit them all and we’ve been so psyched about it. Like the other day, we went to the Hokuriku area (northeastern part of Japan’s main island) that we don’t get to visit often, and were happy to see so many local people there! We can communicate with our fans in the smaller clubs we’re performing at, and it feels like our ability to do live shows has genuinely improved.

You’re getting better at hyping up the audience.

KENSHIN: Yes. We also change the way we stir things up. Since we’re traveling to a lot of places, it wouldn’t be interesting if we did everything the same. The members are having a lot of fun, too.

NAOYA: Because we’re so close to SWAG, the concerts feel more spontaneous. The way the audience gets into the music is different, and the way the stages are set up is also different, so it’s really fun. The set list changes daily and we also have medleys, so I hope people enjoy themselves.

REI: There are things we can do only on small stages, and because we’re close to the audience, the view from where we are is also different. At this point, I just want to do my best to make it through the entire tour. Personally, I’m looking forward to going to Shikoku. I had some bonito tataki in Kochi once, and it was amazingly good.

KENSHIN: I want to try the udon (noodles) in Kagawa too.

NAOYA: Udon in Kagawa is really good.

KENSHIN: Can’t wait to try some! We had a sauce katsudon (pork cutlet served on top of a bowl of rice) and seafood in Hokuriku and they were awesome!

HAYATO: Yeah, that was great. We’re also enjoying the traveling bits, too. It almost feels like a school trip, so I want to keep having fun as we charge through this tour. The schedule is quite packed and there are periods we can’t return to Tokyo, so I’m hoping to enjoy that as well while we’re at it. I’m just really happy that we’re able to tour all 47 prefectures at this point in time. The group is celebrating its fifth anniversary and we’re tighter than ever, so we want to keep gathering speed from this point forward.

EIKU: We also went to Brazil (this year). Oh, and so far each of us has been staying in our own hotel rooms.

NAOYA: Yeah!　

HAYATO: But we all end up getting together to go a hot spring or something.

TETTA: We’re making an effort to visit tourist attractions together during this tour. Most recently, we went to a park with windmills in Kashiwa, Chiba.

Where will you go before the Toyosu PIT show (in Tokyo)?

KENSHIN: What? Lalaport Toyosu (shopping mall)?

HAYATO: No doubt about it. [Laughs]

EIKU: I can really feel us getting better during this tour, so I’m really looking forward to seeing where we stand when we finish it.

NAOYA: After touring all over Japan, we’re doing a show at Pacifico Yokohama, which I’m sure will be an amazing sight. It’ll be the biggest venue we’ve ever performed in, and just imagining the view from the stage gives me feels.

You’ll be moved to tears.

REI: KENSHIN will cry.

KENSHIN: What? Of course I’ll cry! I almost cried when the Pacifico Yokohama show was announced!

TETTA: KENSHIN always cries, so it makes me stay calm.

HAYATO: It doesn’t make you cry in sympathy?

TETTA: REI usually stands next to me and he’s level-headed, so that calms me down, too. [Laughs]

REI: KENSHIN cries good tears. I’m looking forward to it. [Laughs]

KENSHIN: OK. [Laughs]

—This interview by Kana Yoshida first appeared on Billboard Japan

28 Nov 2023

Busta Rhymes Plots Blockbusta 2024 North American Tour: See the Dates

Busta Rhymes is coming to a city near you next year. On Tuesday (Nov. 28), the rapper announced his Blockbusta North American Tour, which will see him making stops across the United States and Canada starting in March.

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The trek — to support Rhymes’ album of the same name released on Nov. 24 — will begin on March 13 at The Masonic in San Francisco. The Blockbusta Tour will also make stops in Phoenix, Denver, Houston, Atlanta, Boston, Philadelphia and more before concluding with a hometown show at the Brooklyn Paramount in the New York City burough on April 21. A special guest who has not yet been announced will be joining the “I Know What You Want” rapper on tour for select cities.

Presale tickets are available now to Citi cardholders through Thursday, Nov. 30, at 10 p.m. local time. Additional presales will run through the rest of the week until the tickets hit general onsale on Friday, Dec. 1, at 10 a.m. local time at LiveNation.com.

See the full list of tour dates below.

  • 3/13 — San Francisco, Calif. —The Masonic
  • 3/15 — Los Angeles, Calif. — Hollywood Palladium
  • 3/16 — Anaheim, Calif. — House of Blues
  • 3/17 — San Diego, Calif. — SOMA
  • 3/19 — Las Vegas, Nev. — House of Blues
  • 3/20 — Phoenix, Ariz. — The Van Buren
  • 3/22 — Denver, Colo. — Fillmore Auditorium
  • 3/24 — Dallas, Texas — South Side Ballroom
  • 3/26 — Austin, Texas — Stubb’s Waller Creek Amphitheater
  • 3/28 — Houston, Texas — 713 Music Hall
  • 3/30 — Atlanta, Ga. — Coca Cola Roxy
  • 4/1 — Orlando, Fla. — House of Blues
  • 4/2 — Miami Beach, Fla. — Fillmore Miami Beach At Jackie Gleason Theatre
  • 4/4 — Raleigh, N.C. — The Ritz
  • 4/5 — Charlotte, N.C. — The Fillmore Charlotte
  • 4/7 — Philadelphia, Penn. — The Fillmore Philadelphia
  • 4/8 — Silver Spring, Md. — The Fillmore Silver Spring
  • 4/9 — Boston, Mass. — House of Blues
  • 4/11 — Detroit, Mich. — The Fillmore Detroit
  • 4/12 — Toronto, ON — HISTORY
  • 4/14 — Chicago, Ill. — Radius Chicago
  • 4/17 — Nashville, Tenn. — Marathon Music Works
  • 4/18 — Cincinnati, Ohio — Andrew Bradley Music Center
  • 4/21 — Brooklyn, N.Y. — Brooklyn Paramount

28 Nov 2023

PinkPantheress Reveals That Beyoncé Is the Inspiration Behind Her Makeup Routine

With Renaissance: A Film by Beyoncé opening in just three days on Dec. 1, is it any wonder why Queen Bey is on PinkPantheress‘ mind? In a new beauty secrets video with Vogue, the “Mosquito” singer spilled all the details on her Beyoncé-inspired makeup routine and her upcoming gig as an opening act on Olivia Rodrigo‘s Guts World Tour.

“Header, I am not comparing myself to who I’m about to mention, nor am I saying I’m anything close,” she began. “But I do look at Beyoncé for inspiration when it comes to makeup. I’m not gonna lie, those early 2000s looks that she was serving with the very minimal makeup, the nice, strong eyebrows … she had a thin brow too, I loved it!” In the video, PinkPantheress pokes fun at her own eyebrows, “or what’s left of them,” as she quips.

In her Vogue video, PinkPantheress also teased big plans for 2024, which include opening for Olivia Rodrigo on the “Vampire” singer’s forthcoming world tour for her Billboard 200-topping sophomore studio album of the same name. “For anyone that’s seeing Olivia Rodrigo live next year, I am the opener, so you’re gonna see me first and then her,” she said. “You don’t need to arrive for me if you don’t want, but I would greatly appreciate it, thank you very much!”

While applying some pink blush, the “Capable of Love” singer also found time to shoutout “Angel,” her contribution to the Grammy-nominated Barbie soundtrack, saying, “It’s giving Barbie! Speaking of Barbie, stream ‘Angel’ by me. If anyone hasn’t heard it, it’s got an Irish jig in it!”

PinkPantheress is set to join Chappell Roan, The Breeders and Remi Wolf as Rodrigo’s rotation of opening acts. She will open 11 shows across the U.S. and Canada beginning on July 19 in Philadelphia and ending on Aug. 9 in Vancouver.

2023 has been a breakout year for PinkPantheress. She scored both the highest charting Hot 100 hit (“Boy’s A Liar, Pt. 2,” No. 3) and the highest charting Billboard 200 entry (Heaven Knows, No. 61) of her career so far.

At the top of this year, on the chart dated Feb. 25, 2023, both Beyoncé and PinkPantheress appeared in the top 10 of the Billboard Hot 100. That week, PinkPantheress’ Ice Spice-assisted “Boy’s A Liar, Pt. 2” flew from No. 14 to No. 4, while Queen Bey’s Grammy-winning “Cuff It” slipped to No. 9 from its peak of No. 6.

Watch PinkPantheress’ share her beauty secrets in the Vogue video above.

28 Nov 2023

Charli XCX Is Engaged to The 1975’s George Daniel: See Her Announcement Photos

Boom, clap, the sound of … wedding bells? Charli XCX is engaged to George Daniel of The 1975, a match made in indie-pop heaven.

The news comes in the form of an Instagram post from the 31-year-old “Speed Drive” singer’s Instagram account, to which she shared a photo of a diamond engagement ring still in its box, presented on a tray in between two cups of tea. She also included a snap of her and the 33-year-old drummer exchanging a cinematic kiss, Charli wearing a white sundress.

“charli xcx and george daniel f–king for life!!!” she captioned the post.

Billboard has reached out to Charli XCX and The 1975’s rep; People has also confirmed the engagement.

Within an hour, the announcement earned several “likes” and comments from a number of the couple’s famous friends, including Muna, Arlo Parks, Dominic Fike, Rachel Sennott and Kim Petras. Even Dua Lipa commented on the post — “aaaaaaahhhhh!!!!!!!!! LOVE THIS!!! ❤️❤️❤️❤️❤️❤️❤️❤️ congratulations lovebirds!!!!!” — as did 1975 frontman Matty Healy, who simply wrote, “I cry?”.

The English musicians made their relationship Instagram official in May of last year, shortly after working together on Charli’s 2022 album Crash, which peaked at a career high No. 7 on the Billboard 200. Daniel also contributed production to “In the City,” Charli’s October duet with Sam Smith, as well as “Hot Girl” for A24’s Bodies Bodies Bodies soundtrack.

Fans online are also celebrating the news. “CHARLI AND GEORGE OH MY GOD THEY REALLY ARE GETTING ENGAGED,” wrote one well-wisher on Twitter.

“GEORGE AND CHARLI FOREVER,” tweeted another fan.

See Charli XCX and George Daniel’s engagement announcement below:

28 Nov 2023

Whoopi Goldberg Has a Message for Critics of Dolly Parton’s Dallas Cowboys Cheerleader Outfit: ‘Bite Me’

Don’t mess with Dolly. Both Whoopi Goldberg and Dolly Parton‘s sister are coming to her defense after the 77-year-old country star’s sizzling Dallas Cowboys cheerleader costume at last week’s Thanksgiving NFL halftime show took some heat from critics who thought that the revealing outfit wasn’t age-appropriate.

Goldberg especially had some strong words — two of which may or may not have been “bite” and “me” — for the “9 to 5” singer’s haters. On the Monday (Nov. 27) episode of The View, the EGOT winner passionately brought up Parton’s outfit, joking that her own social media stir regarding her gloveless Thanksgiving turkey preparations wasn’t “the only subject online that people were hating.”

She continued, “77-year-old superstar Dolly Parton stole the show on Thanksgiving at the Cowboys-Commanders game dressed as a Dallas Cowboys cheerleader, but some critics told her to act her age.” Then, looking into the camera, the Goldberg firmly said, “Bite me!”

“Everybody that participated in this,” added the Sister Act star, “You should be ashamed of yourself.”

Her comments seemed to earn a rare unanimous agreement from her View cohosts, with Sunny Hostin chiming in, “If I looked like that in one of them Cowboys things, I might have everything out. I don’t know if that’s a belly ring or what, but I want what she has.”

Also sticking up for the 10-time Grammy winner is Stella Parton, who tweeted Sunday (Nov. 26) to say, “I personally thought my big sister Dolly was cute as hell in her Dallas Cowboys cheerleading costume.” She added, “To those of you being so critical of a 77 year old kicking up her heels, I say f–k yourself. Shame on you not her.”

Parton rocked her polarizing look on Thursday (Nov. 23), singing some of her own hits along with a mashup of Queen‘s “We Are the Champions” and “We Will Rock You” for the Salvation Army’s Red Kettle Kickoff Halftime Show. The performance came shortly after the iconic songwriter released her first ever rock album, Rockstar, which features collaborations with Paul McCartney, Sting, Steven Tyler, Debbie Harry, Rob Halford, Elton John, goddaughter Miley Cyrus and many more. 

See Whoopi Goldberg and Stella Parton defend the superstar’s outfit below:


https://youtube.com/watch?v=x8hSNzg5hbQ&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent